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System Requirements

 OS : Windows XP (32-64 bits) /Windows Vista(32-64 bits)/Windows 7 (32-64 bits)
 CPU : Intel Core 2 Duo 1.8 GHZ or AMD Athlon X2 64 2.4GHZ
 RAM : 1.5 GB Windows XP / 2 GB Windows Vista – Windows 7
 Video Card : 256 MB DirectX 9.0–
 Sound Card : DirectX 9.0
 DirectX : DirectX 9.0
 DVD-ROM : DVD-ROM dual-layer drive
 HDD : 12GB



Safecracker The Ultimate Puzzle Adventure

System Requirements
Windows ME/2000/XP/Vista
DirectX 7
600 MHz CPU
128 MB RAM



System Requirements:

– OS: Windows XP (SP3), Vista (SP1), Windows 7
– Procesor: Intel Core 2 or better / AMD 64 X2 or better
– RAM: 1 GB RAM für XP / 1,5 GB RAM for Vista and Windows 7
– HDD: 10 GB
– DVD-ROM: 8x
– GFX: 256MB RAM with Support for Shader Model 3
– SFX: DirectX 9.0c compatible
– Direct X: Version 9.0c


System: Windows XP / Vista
– Processor: Intel Pentium 4, 2.4 GHz and above or AMD Athlon 2000 + and above
– Memory: 512 MB RAM under XP or 1 GB RAM with Vista
– Video Card: Nvidia GeForce Series 5 , 6 , 7 video cards or ATI Radeon with 128 MB
– Hard disk: 1 – 2 Gb
– Sound card: DirectX 9.0c – compatible sound card


Minimum System Configuration

1.2 GHz Processor
DirectX 7 capable graphics card ***
Windows 2000/XP/ME/98
Internet Connection **
CD or DVD rom drive (retail version only) *

Preferred System Configuration

2.4 GHz Processor
DirectX 9 capable graphics card
Windows 2000/XP/ME/98
Internet Connection **
CD or DVD rom drive (retail version only) *


Publisher: Strategy First
Developer: Quotix Software
Genre: Role-Playing
Release Date: Jun 26, 2007
ESRB Descriptors: Blood, Fantasy Violence
Number of Players: 1 Player
DirectX Version: v9.0c

As the back of the Call for Heroes: Pompolic Wars box proclaims, “It is the darkest of times.” Well, that’s certainly true enough for anyone who installs and plays the game within. This action RPG from Quotix Software hits new lows in mind-numbing combat and ridiculously confusing level design.

Judging by the credits at the back of the manual, just two people made this one, and boy does it ever show. The twosome worked off a simple template of making a 3D copy of Diablo, but didn’t include any of the depth or catchiness of that classic dungeon crawl. The single-player story (there is no multiplayer) about battling the monstrous hordes of a demon named Pompolic is told solely on the first page of the manual. There are no cutscenes, dialogue sequences, or anything else to tell a tale in the game itself. RPG elements are also MIA. Instead of rolling up characters, you make a one-or-the-other choice between a male warrior and a female amazon, and then bestow a name and a special ability (from a whopping list of three choices per class) upon the hero that you select. And with that, it’s off to explore a succession of 15 generic fantasy castles and dungeons.

And you really do have to do some exploring. Unlike in most hack-and-slash dungeoneering games, levels in Call for Heroes aren’t strictly linear. Instead of just cutting down skeletons and goblins from Point A to Point B, you instead must delve into every nook and cranny of each level to discover all of the dark soul artifacts and open up a portal to the next level before a timer ticks down to zero. Initially, this is refreshing. Far too many action RPG dungeon crawls are so slavishly devoted to linear level design that they play themselves, so finally getting an alternative could have been a very good thing.

Unfortunately, though, the alternative here is an absolute mess. There is no rhyme or reason to the level design at all, and there is no mini-map tracking your expedition, so you feel like a rat running around in a maze. Levels are also totally isolated from one another, giving you the impression that you’re fighting through disconnected battle arenas, not making your way through any sort of story or campaign. Each level seems to have only a half-dozen or so noteworthy architectural elements, too, which leaves you adrift with no distinctive landmarks to indicate where you are at any given moment. Monsters also typically spawn in when you grab a power-up like a health potion or a dark soul, too, leaving you without a sense of place when it comes to specific fights. Welcome to a hack-and-slash treadmill.

Making matters even worse is the incessant, stupidly difficult combat. Packs of monsters constantly swarm you, forcing a lot of scrambly fighting and fleeing that further screws up your sense of direction. From the second level on, the number of creatures on your tail is so insane that you mostly just scurry away from them and hope that you happen to pass the dark souls before you get killed. All of this fighting does at least lend the game a certain white-knuckle intensity. It seems like you’re forever stuck with your hit points in single digits, leaving you constantly afraid that a random swipe from some goon is going to send you on a dirt nap. Also, you have to restart levels from scratch when killed, which adds even more pressure to the hacking and slashing unless you’ve lucked out and found one of the rare respawn icons.

Still, everything goes on too long and is far too repetitive to be the least bit enjoyable. Each Call for Heroes level takes a good half-hour to finish, and you spend every second of that time either fleeing without any idea where you’re going or click-click-clicking on the bad guys. There isn’t any excitement in this monster mash, as you’re whaling away on just a handful of types of beastie in each level. Creatures in the game nicely blend “kill-myself-if-I-have-to-kill-another” fantasy archetypes like skeletons and zombies with bizarro beasts like fireball-spewing floating orbs (the spitting image of Doom’s cacodemon) and spindly-armed ET look-alikes, but there just aren’t enough different monsters to prevent your brain from locking up with tedium. You’ll wallop forty or fifty spiders in one level, then a few dozen one-armed zombies in the next, then a veritable Shriners convention of Doom balls in the next, and so on.

Variety isn’t a part of your arsenal, either. Although you accumulate different weapons and armor along the way, there isn’t that much of it. You generally pick up one good new weapon per level, for instance. Battles can be livened up by activating special class abilities that are picked when you level up, or by collecting coins that let you activate god mode for a limited period of time, but you don’t need any of that fancy stuff; most of the time you’ll be happy (well, “happy” is a relative term) to just click-kill your way through monsters.

Minimum System Requirements
System: Intel Pentium IV 1.6 GHz or equivalent
RAM: 512 MB
Video Memory: 64 MB
Hard Drive Space: 1300 MB

Recommended System Requirements
System: Pentium IV 3.2 GHz or equivalent
RAM: 1024 MB
Video Memory: 128 MB

Screen Shots


Publisher: Hip Games
Developer: Namco
Genre: Modern Shooter
Release Date: Nov 10, 2003
ESRB Descriptors: Blood, Mature Sexual Themes, Violence
Copy Protection: StarForce software protection technology contained in one or more versions of this game.
Special Controllers: Mouse

Nothing delivers a vicarious thrill quite like a slick, big-budget action movie. Hollywood blockbusters, like Face/Off and The Rock, in addition to some of Hong Kong’s finest movie fare, like The Killer and A Better Tomorrow, put you right in the middle of intense modern-day shoot-outs between the “goodest” good guys and the baddest bad guys. Films like these are undeniably exciting, but they sometimes leave you wondering how on earth the good guys managed to beat such impossible odds. The answer is obvious: These movies aren’t real. Of course, Dead to Rights isn’t real, either. If you’ve ever wondered what it might feel like to be the lone action hero who’s pitted up against a ridiculous number of enemies, this game is about as close as you’ll get. Dead to Rights was originally released in the summer of 2001–exclusively for the Xbox–where its intense difficulty level polarized the game’s audience, as some loved the relentless challenge, while others couldn’t handle it. The subsequent PlayStation 2 and GameCube versions, for better or worse, greatly toned down the game’s difficulty, thus making Dead to Rights a whole lot more accessible and slightly less nerve-wracking, though no less action-packed. Now a PC port of the game is available, and while it doesn’t look like much and controls differently than you’re probably used to, it still delivers plenty of entertaining combat.

Dead to Rights is about a K-9 cop named Jack Slate, who does what he can to keep the peace in a criminal cesspool called Grant City. At the beginning of the game, Slate and his trusty dog Shadow are investigating a mysterious construction site. There, Slate discovers that someone very close to him has been murdered. Against direct orders, he sets off to find some answers and to seek revenge. The story, as told through Jack’s deadpan narration and the occasional CG cutscene, seems pretty straightforward at first. During the course of the game, however, it actually takes some decent twists and eventually becomes quite involving. The best that can be said for it is that, unlike most stories in games, this one does a commendable job of tying up all its loose ends before the credits roll.

Superficially, Dead to Rights unquestionably resembles Max Payne. This is mostly because that game, like Dead to Rights, is clearly inspired by a certain breed of action movies, the most notable of which is probably The Matrix. Like Max Payne, Dead to Rights is the tale of a fugitive cop who’s apparently fighting alone in his war against a sinister, corrupt organization. Even the game’s respective main characters have a lot in common. Their names sound alike, their dialogue is hammy and melodramatic, they shrug off bullet wounds, they shoot rapidly with two pistols at once, and when they leap through the air, all the action around them slows down. That’s a lot of similarities, but that’s also where the similarities end.

Dead to Rights plays differently from Max Payne–and from most other action games, for that matter. Most of the game consists of third-person action sequences in which Slate has to gun down countless foes before reaching his next objective. Just as the plot in Dead to Rights offers up a few surprises, so does the gameplay. Simple yet inventive minigames frequently figure into the action, as Slate will have to do all kinds of things, from disarming bombs to lifting weights to picking locks. These minigames rely on precise timing and/or button mashing, and they make for fun diversions. Also, Slate will have to fight unarmed in a number of sequences. Fortunately, he can switch to unarmed combat in the middle of a gunfight.

There’s a lot to say about the action in Dead to Rights because Slate is a versatile fighter. He can carry a number of different firearms at once, and the game features a wide selection of real-world pistols, shotguns, submachine guns, assault rifles, sniper rifles, and more. He’ll typically salvage these from fallen foes, but he wastes no time reloading, opting instead to coolly toss aside depleted weapons. Aiming in Dead to Rights is automatic. You just press and hold the right mouse button, and Slate will draw a bead on the closest foe. Once that enemy goes down, you press the right mouse button again to find your next target. You can also opt to manually aim from a first-person perspective. This rarely figures into play, though you’ll sometimes need to do so when using sniper rifles.

Your enemies are plentiful, heavily armed, and armored and are often quite deadly. They’ll rush at you, but Dead to Rights feels like an arcade game, so you probably won’t question their reckless tactics. As for you, if you wish to improve your chances of survival, you’ll need to make use of all of Slate’s defensive maneuvers while fighting. A martial arts expert, Slate can disarm his foes at close range by snatching their weapons while delivering a deathblow with dramatic flair.

Alternatively, he can put a vice grip on most any foe. This allows Slate to use the opponent as a human shield while retaining the ability to shoot back (at least with one weapon). If his hostage isn’t killed by friendly fire, Slate can coldly put the fool out of his misery with a bullet to the head or a shot in the back. This isn’t exactly lighthearted stuff.

Slate’s got even more moves. He can duck behind cover and can also flatten his back against a wall, thus priming himself to spring out and start shooting from around a corner. And, sure enough, he can leap through the air in any direction while keeping his guns trained on his foes. Pressing and holding the jump button causes the action to go into slow motion in midjump, while, for some reason, you get to retain a real-time rate of fire, which allows you to take out multiple targets before you hit the ground. This maneuver is hardly realistic, but it’s exciting and acts as a real lifesaver. Your ability to use it is governed by an adrenaline meter that works like bullet time in Max Payne. The meter fills back up as you defeat enemies, and it also refills gradually with time, but it’s well balanced so you can’t get away with using this powerful move excessively.

Minimum System Requirements
System: Pentium III 500 MHz or equivalent
RAM: 128 MB
Video Memory: 16 MB
Hard Drive Space: 600 MB

Recommended System Requirements
System: Pentium 4 1 GHz or equivalent
RAM: 128 MB
Video Memory: 32 MB
Hard Drive Space: 1800 MB
Screen Shots


Publisher: 2K Games
Developer: 2K Boston
Genre: Sci-Fi First-Person Shooter
Release Date: Aug 21, 2007 (more)
ESRB Descriptors: Blood and Gore, Drug Reference, Intense Violence, Strong Language, Sexual Themes
Number of Players: 1 Player

While on the surface it might look like little more than a very pretty first-person shooter, BioShock is much, much more than that. Sure, the action is fine, but its primary focus is its story, a sci-fi mystery that manages to feel retro and futuristic at the same time, and its characters, who convey most of the story via radio transmissions and audio logs that you’re constantly stumbling upon as you wander around. All of it blends together to form a rich, interesting world that sucks you in right away and won’t let go until you’ve figured out what, exactly, is going on in the undersea city of Rapture.

Rapture is an amazing city that sits at the bottom of the ocean, but something’s gone horribly wrong down there.BioShock opens with a bang, but the overall plot focuses more on making an emotional impact than an explosive one. The year is 1960, and you’re flying over the Atlantic Ocean. One mysterious plane crash later, you’re floating in the water, apparently the lone survivor, surrounded by the flaming wreckage of the aircraft. But there’s a lighthouse on a tiny island just at the edge of your view. Who in their right mind would put a lighthouse this far out? You swim closer and discover a small submersible called a bathysphere waiting to take you underwater.

After catching a breathtaking view of what’s below, you’re sent into the secret underwater city of Rapture. Masterminded by a somewhat megalomaniacal businessman named Andrew Ryan, this city is driven by its own idea of total freedom, with capitalism completely unhindered by governmental meddling and science unhinged from the pesky morals of organized religion. Sounds like the perfect society, right? Well, even before you step out of your bathysphere and into the city, it becomes obvious that everything has gone horribly wrong down here. The city is trashed, and genetic freaks called splicers roam around, attacking anything that gets in front of them. At the heart of the matter is a powerful, corrupting substance called ADAM, which makes all this genetic tinkering possible and allows you to get your first plasmid power, the ability to shoot lightning out of your fingertips.

Character customization is a key trait in BioShock. You have a limited but increasable number of spaces in various customization categories, and you can totally reconfigure all of your different plasmids and tonics at will, at no charge, at specific locations in-game. Plasmids are the active, weaponlike genetic enhancement. Many of these are very straightforward. Incinerate lets you burn things and melt ice. Telekinesis lets you use your left hand as if it were Half-Life 2’s gravity gun. But others are a little more subversive. Security bullseye is a little ball you can toss at enemies, causing any nearby security cameras, turrets, or sentry bots to point in his direction. Enrage can cause enemies to fight one another. Insect swarm causes your arm to shoot bees at your enemies, which unfortunately is far less cool-looking than it sounds. You can also place decoys, plant swirling wind traps for enemies, and so on. While it’s fun to mess around with a lot of the indirect attacks, facing your enemies head-on with the more direct plasmids feels a bit more effective.

Tonics are skills that are slotted just like plasmids, but they have passive effects, like sportboost, which increases your movement and melee attack speed, or natural camouflage, which makes you turn invisible if you stand still for a few seconds. So if you want to make your swinging wrench attacks more powerful, you can slot up things like wrench jockey and wrench lurker, which increase your wrench damage on all attacks and when catching opponents off-guard, respectively. Add bloodlust, which gives you some health back every time you club someone with your wrench, and you’re a melee master with health and plasmid energy (called EVE) to spare. You can also slot some defensive stuff, like static field, which zaps anyone who touches you with a electric radius effect, and armored shell, which reduces the damage you take from physical attacks. There are more than 50 tonics to collect, giving you plenty of options to play around with.

ADAM and EVE combine to let you shoot fire, lightning, ice, wind, bees, and more out of your fingertips.Most of those plasmids and tonics will have to be purchased using the raw ADAM that you collect from harvesting vessels called little sisters. They’re little girls with a big needle that they use to collect the sought-after stuff from dead bodies, and they’re protected by the baddest enemies in the entire game, hulking armored monsters called big daddies. This is where the game makes you decide to be selfless or selfish. If you harvest the girls, they die, but you get 160 ADAM from them. If you free them and return them to normal, you get only 80 ADAM. There are a limited number of girls to deal with in the entire game, making it very possible that you won’t be able to collect every single purchasable plasmid and tonic, so choose wisely. Either route has benefits and consequences, and there are story considerations as well.

Before you start thinking this is some kind of role-playing game or something, let’s stop right here and say that in addition to all the toys that plasmids and tonics for you to play around with, you’re also going to be carrying around some more conventional firepower. Your melee weapon is a wrench, and you quickly collect a pistol and machine gun. Being that this is 1960 filtered through the isolation of an undersea world that has the art deco style of the first half of the century, the weapons aren’t nearly as high-tech as the genetic code in your body. The machine gun is your basic tommy gun, and the grenade launcher appears to have been cobbled together from coffee cans and other spare parts. You’ll also get a shotgun, a crossbow, and so on.

You can also collect different types of ammunition, such as exploding buckshot for your shotgun or missiles for your grenade launcher, and upgrades that increase damage, speed up reloads, and so on. The weapons are functional and the upgrades are pretty good, but the firing action isn’t nearly as exciting as a combat-focused first-person shooter would be. The weapons are loud but don’t feel especially right, and seeing shotgun blasts not even do 50 percent damage to an unarmored human target (on the default difficulty setting) just feels wrong. But that might also say something about the general lack of enemy variety.

Minimum System Requirements
System: Intel Pentium IV 2.4 GHz or equivalent
RAM: 1024 MB
Video Memory: 128 MB
Hard Drive Space: 8000 MB

Recommended System Requirements
System: Intel Core 2 Duo or equivalent
RAM: 2048 MB
Video Memory: 512 MB

Screen Shots


Publisher: Activision
Developer: Shaba Games
Genre: Beat-‘Em-Up
Release Date: Nov 1, 2005
ESRB Descriptors: Crude Humor Offline Modes: Competitive, Team Oriented
Number of Players: 1-4
Number of Online Players: 24 OnlineShrek SuperSlam is a 3D melee game starring all your favorite characters from DreamWorks’ Shrek movies. It also borrows heavily from other games like Super Smash Brothers and Power Stone. SuperSlam is obviously designed for younger audiences, and it succeeds in that regard thanks to its simple controls and gameplay mechanics.

Most of the gameplay in Shrek SuperSlam revolves around short, two-minute battles with up to four participants. The objective of these battles is to “slam” your opponents as many times as possible. You’ll fill up a slam gauge after you’ve landed several attacks. Once that gauge is full you can perform a special slam attack that sends your opponent crashing around the stage in scripted, but entertaining ways. There are 20 characters in all, and each one has a unique slam attack. Shrek farts, Puss in Boots charms enemies with the cute kitty look, Donkey does a running head butt, Fiona the ogre sings (terribly), and so on. Every time you slam an opponent you get a point and they lose a point. The one with the most points at the end of the round wins. In addition to the slam attacks, each character has a light attack and a strong attack. These two attacks can be strung together to form combos. There is a combo for breaking blocks, a super-powerful combo, and a variety of special combos. You can also perform aerial attacks like butt drops, wall attacks, and throws. In addition to the basic melee attacks, you can pick up a variety of weapons and objects in each level. You can pick up a piece of furniture and toss it at your opponents, beat them senseless with a ham hock, fire projectiles from a trombone, and drink various potions to get quick power-ups like an instant slam or invulnerability.

There are three different single-player modes in Shrek SuperSlam. You can just jump into melee mode to start fighting in any of the 16 stages right away, or for a more progressive experience, you can check out story mode or the mega-challenge mode. Story mode is a brief series of straightforward brawls with a short cutscene to provide a bit of context. There are only eight stages in story mode, and you can blow through all of them in 20 minutes or so. In one stage, Gingerbread Man fights Puss in Boots after the cat eats one of the cookie’s brethren. In another stage, Donkey has to fight off Prince Charming after offending his noble sensibilities. The stages all have a twisted fairy tale theme, like a parody of MTV’s Cribs starring Gingerbread Man and his gingerbread house.

In story mode, all the matches are straightforward fights, but for a change of pace you can check out the mega-challenge mode. This mode is presented as a board game where you can move from space to space to complete a variety of special challenges or participate in tournaments. The challenges are pretty simple and aren’t too difficult to complete. For one challenge you simply have to run around a small track faster than an opponent, and for another challenge you have to toss six gingerbread men into an oven. The tournament spaces are equally simplistic, but they’re slightly more challenging. Each tournament consists of a handful of battles against one or two opponents, with the objective being to get the most slams. Sometimes there are special rules in these tournaments, like battles where every hit is a slam, but they’re still just your basic brawls.

Since it’s a melee game, you can bet there are plenty of wild and crazy multiplayer modes, right? Well, actually there are only two multiplayer modes. There’s a basic melee mode, and a king of the hill game where you score points for each second you remain in a certain area of the map. You can play with up to four players, but with the limited options and game modes you’ll get bored with the multiplayer pretty quickly. While it lasts, though, SuperSlam does provide plenty of mindless fun in short, two-minute pickup rounds.

By default the Xbox, PlayStation 2, and PC versions of Shrek SuperSlam look about the same, although the PC looks best if you crank up the resolution. However, the default PC controls are awkward, since you use WASD to move, and then use the J, K, I, and L keys to attack, jump, and pick stuff up. The Xbox and PlayStation 2 versions both feature easy, intuitive controls. Also, the PC version crashed on us a couple of times during start-up, but other than that it ran smoothly. The stages are all well designed according to their specific themes, and they look like they were taken straight out of the Shrek universe. The characters look fairly detailed as well, and they all have unique and funny animations, like when Donkey picks up an item with his back hooves and balances on his front hooves to use the item. The sound is also well done. Mike Meyers, Eddie Murphy, and Cameron Diaz didn’t voice their respective roles, but the soundalikes deliver respectable imitations. The music is happy and upbeat, just as in the movies. Thankfully, there’s no Smash Mouth to be heard, but the tunes have the same sort of ska sound, which fits in well with the light theme of the game.

Shrek SuperSlam is a good game for younger people and fans of the movies. It’s simple, easy entertainment that isn’t at all demanding or convoluted. The characters retain the same great charm from the movies, and there are even funny moments in some of the cutscenes. The only problem with the game is that it really doesn’t have enough depth to sustain it for much more than a few hours, which makes it difficult to recommend at $40. Still, it’s worth checking out if you love melee games or the Shrek series, because it does a fairly good job of delivering on both those fronts.

By Greg Mueller, GameSpot

Screen Shots


Publisher: ValuSoft
Developer: Replay Studios
Genre: Racing
Release Date: Dec 20, 2006
ESRB Descriptors: Alcohol Reference, Violence, Lyrics
Connectivity: Online, Local Area Network
Customization: Editing Tools
Online Modes: Competitive
Number of Players: 1-4
If you were to smoosh together the FlatOut series of demolition racing games and Nadeo’s TrackMania stunt-racing franchise, then systematically vacuum out all of the most appealing aspects of both titles, you’d have the basic equivalent of Crashday. It’s not that the game is terrible, but so little of it feels genuine or original; it’s more of a cheap, hacked-together clone of the aforementioned titles. And what’s more, it isn’t even a particularly good clone. The game’s race modes lack coherency–let alone excitement–and the stunt and combat modes fall flat.

There’s supposed to be a premise to Crashday, but it’s anyone’s guess as to what it is exactly. Booting up the game’s career mode simply drops you right into the middle of a backstory that features up-and-coming racers in some cockamamie imaginary racing league. But the text doesn’t explain much, and the guy doing the voice acting is practically indecipherable. Imagine, if you will, a game developer tracking down the man with the thickest British accent in the world, plopping him down in front of a series of bad New York mafia movies, handing him a script, and demanding he talk exactly like the gangsters portrayed onscreen. That’s how awful the voice acting is in Crashday.
Once you realize the premise is best ignored and actually jump into the game, you’ll find gameplay that’s just as clumsy as the voice acting. Racing in Crashday is exceedingly frustrating. Cars are a floaty, slippery mess, sliding out and crashing into random objects on a regular basis. This is an arcade racer, so no one’s asking for a devout dedication to realism. But arcade or not, these cars are not fun to drive, nor do they handle well. Of course, the trick is that you have to drive especially fast because the other racers have a preternatural ability to use their speed boosts at all the right moments and will always blaze past you if you screw up. So what you end up having to do is memorize every nook and cranny of each race track just so you can figure out where to use your boost and where not to use it. Another weird thing is that the game’s sense of speed isn’t all that good. You definitely get the sense that your car is about to go flying out of control at any second, but the visceral thrill of high-speed racing is basically absent.
Only the stunt and combat races are slightly better than the sense of speed. Stunt modes include tracks filled with ramps, jumps, and loops, but there’s a highly limited scope to the stunt track designs. The game lacks the sort of “look at how completely insane these tracks are” vibe that such games as TrackMania have all but perfected. They’re not kooky or bizarre; they’re just a bunch of ramps and loops. And they’re not even laid out well. The bonus is that the game does include a track editor, but even its scope is limited, allowing for a few bizarre twists but not much more.
The combat modes come in a couple of forms. There are straight-up demolition races where the goal is to just slam into opponent cars over and over again until everyone has exploded but you. Then there are weapon-based modes that give you a Gatling gun and a missile launcher so you can go nuts. These are, by far, the most entertaining modes in the game because, in stark contrast to the driving physics, the game’s crash physics aren’t half bad. Cars break apart pretty nicely, and the weapons aren’t hard to aim or use, which makes wanton destruction a fairly painless process. The main issue here is the limited array of tracks and weapons. It would be nice if there were more variety to the destruction at hand. But sadly there isn’t, and after a few plays against the computer, the action does get a bit tiresome.
Multiplayer would theoretically remedy that issue, but even the multiplayer isn’t without problems. The primary problem is that there’s nobody online to play against. Sure, the servers list lots of games being played, but they’re all being played across the pond by players in Europe. And the European version of the game isn’t compatible with the US version for some reason. So you won’t be able to play against any of them until Moonbyte patches one version or the other. We spent a considerable amount of time trying to find a US-based opponent but only found one playable online match during that entire span. To make matters worse, lag practically wrecked the experience. Trying to play a crash race while cars skip and jump all over the track is just about the most obnoxious thing you’ll ever experience.

Apart from the awful voice acting, the remainder of Crashday’s production value is bit more laudable. As mentioned previously, the crash effects are done quite nicely, and the cars deform and explode about as well as you would hope. The car models aren’t exactly impressive, but considering you’re just thrashing them over and over again, they don’t need to look pristine. The tracks are easily the weakest point of the visuals. The background environments are extremely generic, dressed up with bland-looking towns and set pieces, as well as unattractive textures. They’re not hideous, but they’re definitely not pleasing to the eye.
Of course, someone could try to justify the plain-Jane gameplay and total lack of originality found in Crashday by simply mentioning that it’s only a $20 game. Do you want to know how much a new copy of FlatOut 2 costs on the PC? Yes, that’s right, $20. And a copy of TrackMania: Sunrise? It’s the same price. Do yourself a favor and go right to the sources of Crashday’s inspiration rather than pay for a bargain-basement, bush-league version of the same basic gameplay concepts.
By Alex Navarro, GameSpot
Minimum System Requirements
System: Pentium IV 1 GHz or equivalent
RAM: 256 MB
Video Memory: 64 MB
Hard Drive Space: 1500 MB
Screen Shots